Last Thursday I met with Chinn to talk about my project. She really reminded me about my future/past aesthetics. Because my work deals with very basic needs/interactions/impulses, in some way it records a universal, timeless record of human desire. The visual nature of my stencil designs makes them very much a product of a graphic design age or at least a member of that body of vision in the same way that my comic strips were. This faux culture and language that I'm creating, although recording my own self-portrait, can then be either a product of the distant past or distant future without context. The blocks of overlayed symbols are very reminiscent of Mayan code or On Kawara's paintings and the scrolls that they appear on themselves speaks to history.
Chinn's suggestion, then, was alternative substrates. Specifically a frosted Mylar or transparent plastic of some sort. The ceramic scroll tops that the substrate will sort of "roll out of" will be made out of raw red clay, a material I've used before to stand in for rock. It's this ancient body that you imagine the first wheel was chiseled out of when you imagine a caveman in leopard skins chiseling the first wheel. To place plastic on rock, machined on raw, creates an exciting interplay. Also, because my inks are transparent, I'm interested in putting transparency on transparency on transparency.
Chinn and I also discussed the importance of a daily practice with regards to recording these events. So I rolled out a new sheet of test paper, began recording the month of February, and caught up to where I am now. From here on out, I'm recording the previous day's events every day.
I also met with Sarah and Deb this week and got some dope advice/insights that I'll post on in a bit
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